One of the best forms of therapy can be bonding with people from all walks of life, celebrating the same, beautiful music at a concert together. Dawes happens to be comprised of brothers Taylor and Griffin Goldsmith, who happen to come from the same – or similar – walk of life, which isn’t lost on me as I glance around at the spellbound crowd around 9pm on Saturday, June 7th. The fact that they have been able to maintain such fantastic stage presence and creative prowess together for so long is a testament to their dedication to their craft, and their ability to see the good in each other. (Working with your family isn’t an easy thing to do. I honestly see it as a marker of genius in most situations.)
The brothers and their talented backing band played at the Star Pavilion at the Ameristar Casino in Kansas City, Missouri — a venue I hadn’t yet photographed at, but found more enchanting than cheesy.
Dawes tore into a couple of songs before coming up for air to introduce themselves. While many bands will joke about whether they are in Kansas or Missouri, Taylor joked more about not knowing their proximity to the city because of the lack of windows in the room. Small jokes here and there garnered a lot of reaction from the ultra-attentive crowd.
Dawes’ 13-track setlist included crowd favorites, and some slow burns to really cherish together. Witnessing the build of the instrumentals – and watching the way the band jams together live – was an incredibly enjoyable experience, a welcome evening break from the horrors of the world.
On May 6th, hip hop artist Open Mike Eagle opened for Future Islands at The Madrid in Kansas City. He set the fun tone for the remainder of the evening. Whitney Young captured some highlights from the set for us.
Future Islands creates synth-pop that helps us to disconnect from reality — and sometimes become more connected to ourselves. Seeing them live is an experience unto itself, and we were lucky enough to check them out last week on their stop through Kansas City, Missouri. The Madrid is a beautiful, historic theater that was the perfect backdrop to this lineup.
Max McNown sold out two back-to-back nights at the Bowery Ballroom, a triumphant success for any new artist playing NYC. There was, however, just one problem.
A certain, then-unnamed artist needed the venue, bumping McNown’s shows on February 11th and 12th over to the larger Irving Plaza. This wasn’t the worst thing to occur; if anything, more fans would be able to attend, and as McNown’s popularity continues to grow daily, the larger the venue, the better.
McNown’s people knew that the artist had to be huge; to be bumped like that would make no sense otherwise. After some inquiries, their hunch had been confirmed: Sir Paul McCartney would be playing two unannounced, intimate shows and wanted the Bowery Ballroom for those nights specifically, as February 11th was the 61st anniversary of the Beatles’ first show in the United States in Washington, D.C.
McCartney was quite apologetic, offering McNown tickets to his shows. However, McNown notes that despite wanting to go, he felt he had to be responsible: “I honestly wish I could have pulled it off…I always say touring is a job and there were too many people counting on me to play my own show to skip out on it. But yes, ‘tempted’ is an understatement.’”
Irving Plaza was packed on February 11th, and it was clear that being bumped had worked in McNown’s favor. The sheer number of fans was startling, and all were armed with cell phones at the ready, flooding into the front. Further, the crowd was one of all ages, a smattering of a few young children in addition to teenagers and older adults.
McNown opened the show by casually sitting on the side of the stage, just a few feet from the barricade. The audience, rapt, was elated at the intimacy, as if McNown were merely hanging out with his friends. Faces lit up, as did phones, and the show was in full swing as McNown stood and proceeded to make his way to the stage’s center. Ripping into “Love I’ve Got Left,” his second song of the night, the lights burst bright as McNown’s vocals washed over the crowd. An upbeat, anthemic tune, “Love I’ve Got Left” is a standout on McNown’s LP, Wandering, as is his breakout hit, “A Lot More Free,” a track about breaking up with someone, yet subsequently realizing the silver lining. This is the track that put him on the map, introducing his music to TikTok and going viral.
The show consisted of songs off his latest LP, Night Diving, in addition to Wandering and Willfully Blind. McNown is a force to be reckoned with, and this is just the beginning.
Ah, SXSW—the annual pilgrimage where sleep is optional, lines are inevitable (unless you have a fancy badge like me), and discovering your new favorite band is just a wrong turn away. This year, I had the honor of being a Music Mentor, which basically meant I got to skip a bunch of lines and pretend I knew what I was talking about. Between catching insane live sets, running into nerdcore legends, and witnessing a band perform with actual puppets, it was a week of pure, beautiful madness. Here’s my completely unfiltered, sleep-deprived recap.
Nothing like an early morning flight from TPA to AUS to remind you that sleep is for
the weak.First stop: badge pickup. This year, I was a Music Mentor, which means I was an “Official Speaker.” This also means I had the SXSW equivalent of a Disney Fastpass and could waltz past lines like a VIP.After securing my golden ticket, I hit SXSW Songs at Arlyn Studios, an
international songwriting camp where artists, producers, and songwriters from all over the world
come together to create magic. It’s one of the best-kept secrets of SXSW—like a hidden level in a video game.First show of the week? Japanese heavy metal band Gokumon. They had
synchronized dance moves, headbanging, their own hype person, and even projected lyrics in both Japanese and English. Their soundcheck was so serious I half expected a NASA countdown. 10/10, would headbang again.People say “Rock is Dead” while a Japanese band absolutely destroys a venue in Austin, Texas, in front of a mostly Japanese audience. Yeah… rock’s fine, guys. Maybe you just need to leave the US.“Hey man, are you a Bucs fan?” “Nah cuz, the hat just goes with the shoes.”It doesn’t get any more Austin than Bob Schneider, who’s been playing at Saxon Pub
every Monday for 26 years. I caught him not at Saxon, but performing a few songs for a live
radio broadcast on Sun Radio.Randomly ran into MC Frontalot, a nerdcore hip-hop pioneer (per Wikipedia, the
most trusted source of SXSW bathroom line debates). We had a full conversation before I
realized who he was. Later, I tried to watch his documentary, Nerdcore Rising, on the flight
home… but, plot twist: it’s not on streaming.Thanks to MC Frontalot, I caught British duo Alt Blk Era at Parish. Easily one of the best sets of the week. Their stage was a fog machine’s dream, and their lyrics included gems
like: “She’s snorting cocaine every other weekend / She’s partly insane, she’s my drummer’s
girlfriend.” Poetry.Hardcore Montreal band Truck Violence performed like they had a personal vendetta against silence. I respect the energy.Saw the amazing Quelle Rox at the very fancy Driskill Hotel during a party hosted by
Notorious Noise and The Luna Collective—two badass, women-run companies with
impeccable taste. Nothing says “rock and roll” like a luxurious chandelier above a mosh pit. Baths played in direct sunlight at Flood Magazine’s Floodfest, making it the
Hottest Set at SXSW (literally). We all barely survived. This was my annual reminder to drink
water.Irish post-punk band Gurriers played next and proved why they were one of the
most hyped bands this year. With 35% of SXSW bands coming from overseas, it felt like Austin became the most cultured city in Texas.Tried to see Dead Gowns at Cheer Up Charlie’s. This is as close as I got.The Creem Mag/Third Man Records Showcase was a masterclass in chaos, but
Brooklyn’s TVOD (Television Overdose) took the crown. They played 13 shows in 6 days, which is either legendary or a cry for help.Met Sons of Sevilla at a party early in the week. They told me about their set at the
Space Agency party, so I made it a point to check them out. Glad I did—great music, great
guys. Also, this is your reminder to talk to strangers (at SXSW, not in dark alleys).Speaking of the Space Agency party, the wildest set of the week came from
Worn-Tin and the Freak Nature Puppets. Yes, puppets. The crowd lost their minds. I can’t
even explain it, and honestly, I don’t want to.Acid Baby Jesus packed Hotel Vegas to the point where it was one in, one out the
entire set. I was shoved into a wall but accepted my fate. Greek psych rock waits for no one.Jasmine.4.t ended their set with a System of a Down cover, which instantly made
them my new favorite band.Before heading to the airport, I had to catch Frankie and the Witch Fingers. They
were the most talked-about band at SXSW, and somehow I had scheduling conflicts every time
they played—except for this one last set at the BrooklynVegan party. Perfect way to close out
the madness.
SXSW TLDR:
Rock is alive and well
Hydration is essential
Nerdcore legends walk among us
Puppets belong in live music
My SXSW Fastpass badge was the real MVP
See you next year, Austin.
About the Author: Randy Ojeda is an entertainment attorney dedicated to protecting the rights of musicians and creatives. As the founder of Randy Ojeda Law, he provides legal counsel on contracts, intellectual property, and business matters, helping artists navigate the complexities of the music industry. A graduate of Loyola University Chicago School of Law and a member of The Florida Bar, Randy combines his legal expertise with real-world industry experience. He is also the CEO and Co-Founder of Cigar City Management, an artist management company, and the host of Cigar City Radio, a podcast featuring interviews with musicians and industry professionals. Follow Randy @realrandyojeda https://www.randyojedalaw.com/
Julien Baker Week descended on New York City with a flourish, the rush of which resembled the city itself. With three sold-out nights at Webster Hall, tickets were highly coveted. This was even reflected in the line prior to doors, as fans began to line up around 2-3pm, gunning for the first row.
On the second night, however, Baker suffered from a stomach bug and had to end the show after 40 minutes. Thankfully, she added a date to make up for the shorter set, this time at Brooklyn Steel, where she has played three times in the past. Unfortunately, due to the fact that the show was added last minute, Baker didn’t have a second opener. She then enlisted her Boygenius bandmate, Lucy Dacus, to do a short interlude after singer/songwriter Katie Malco’s set.
As Lucy Dacus took the stage, armed only with her acoustic guitar, the ear-piercing screams that greeted her would have had one convinced that she herself was the headliner as opposed to Baker. The crowd sang along, providing enthusiastic accompaniment. Dacus was smiley and chatty, joking around between songs and telling stories, even debuting a brand-new song. Ending with “Night Shift,” Baker and her band joined in to do it electric, mimicking the exact feeling of the night.
When Baker took the stage, the energy shifted to one of quiet reverence. After her band played the intro to her second LP, Turn Out the Lights, “Over,” Baker began to sing “Appointments,” the opening track. Performing songs from each of her records, 2015’s Sprained Ankle, 2017’s aforementioned Turn Out the Lights, and 2019’s Little Oblivions, the setlist covered the span of her career, including some of her EPs, such as tracks like “Tokyo” and “Red Door.” She also played two new songs, “Middle Children” and “High in the Basement.’ Further, Baker excitingly rearranged some of her songs, giving them a new emotional pull. She also had her band backing her up (which has only occurred on the Wild Hearts tour) as opposed to her earlier shows with only an acoustic guitar.
Baker next heads to San Francisco and LA, where she is playing a 3-show residency in each city. After, she will fly to London for a 4-show residency.
If Spiderman is yelling at you and insulting you right before you go on stage, what is your response? Punk rock band The Vandals chose to have a discourse with the front-row troll shortly before their set on Sunday, and then proceeded to show him — and a giant crowd — that they were still entirely as full of vim and vigor as they were when they started in 1980. Epic performance by an incredible band.
Setlist Take It Back Cafe 405 It’s a Fact Urban Struggle Live Fast Diarrhea N.I.M.B.Y. An Idea for a Movie The Legend of Pat Brown People That Are Going to Hell Anarchy Burger I’ve Got an Ape Drape And Now We Dance Oi to the World My Girlfriend’s Dead I Have a Date
The headline says it all. Riot Fest 2024 was an absolute blast, but the Laura Jane Grace and Catbite set on Sunday was a highlight. The two incredible acts teamed up to bring their musical prowess to a crowd that was ready and capable of belting out endless Operation Ivy songs. (Twenty-three, to be exact.)
We grabbed some incredible photos of their mid-day set – during, truly, the most beautiful part of Sunday – below.
Setlist Knowledge Sound System Jaded Take Warning The Crowd Bombshell Unity Bankshot One of These Days Gonna Find You Bad Town Smiling Caution Freeze Up Artifical Life Room Without a Window Big City Missionary Here We Go Again Hoboken Tellin’ in My Ear Healthy Body Officer
laura jane gracelaura jane gracelaura jane gracelaura jane grace
Richmond-bred heavy metal outfit — and our Lords — GWAR took the stage on Sunday to an excitable crowd at Riot Fest 2024. While the rain had died down for the day, people closer to the pit donned ponchos and rain gear. This wasn’t because of the forecast, but because of the GWAR juice that the band is known for, this time in the form of blood immediately raining down at the beginning of their set.
These guys are some serious fun. Highlights below.
